We're in Bologna, Italy, and like every year, EFSP follows Cinema Ritrovato! One of the programmes is 'Jean Gabin, The Man With The Blue Eyes', which offers only nine out of his ninety-five performances on film, leaving out such masterpieces as La grande illusion or Le Jour se lève which have been shown at previous editions of the festival. Jean Gabin (1904-1976) was one of the greatest stars of European cinema. In the 1930s he became the the tragic rebel of the poetic realist film, a kind of James Dean avant la lettre. After the war Gabin was reborn as a tough anti-hero, set in his beliefs, feared and respected by all, the John Wayne of French cinema. Cinema Ritrovato shows some rarities such as Anatole Litvak’s Coeur de lilas and G.W. Pabst’s Du haut en bas, as well as forgotten works such as René Clément’s Au-delà des grilles, Marcel Carné’s La Marie du port and films in which he partners with Brigitte Bardot and Simone Signoret, not to mention an inimitable performance as Georges Simenon’s Maigret.
French postcard by Editions P.I., Paris, no. 23.
French postcard by Editions O.P., Paris, no. 29. Photo: Star. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).
French postcard by A.N., Paris, no. 1160. Photo: Films Osso. Publicity still for Le quai des brumes/Port of Shadows (Marcel Carne, 1938).
French postcard by Edit. Chantal, Rueil (S.-O.), no, 49B. Photo: Raymond Voinquel / Sigma. Publicity still for Le jour se lève/Daybreak (Marcel Carne, 1939).
French postcard by Edition Chantal, Paris, no. 49.
French collector card by Massilia.
Jean Gabin was born Jean-Alexis Gabin Moncorgé in Paris, in 1904. He grew up in the village of Mériel in the Seine-et-Oise département, about 35 km north of Paris. His parents, Ferdinand Moncorgé and Hélène Petit, were entertainers, who performed in local cafés. Jean worked as a labourer, but from an early age, entertainment was in his blood. At 18, he took a turn at the Folies-Bergère. He then appeared in revues and operettas, singing and dancing, and becoming famous for his imitation of Maurice Chevalier.
Through a chance meeting with the singer Mistinguett in 1928, he was given a spot at the Moulin-Rouge. This led to uncredited parts in two silent sketch films Ohé! Les valises/Hey! Suitcases (1928) and Les Lions/The Lions(1928) with the comic Raymond Dandy. Two years later, he easily made the transition to sound film in the Pathé Frères production Chacun sa Chance/Everyone a Chance (René Pujol, Hans Steinhoff, 1930). In this film, he appeared with Gaby Basset, whom he had married in 1927.
Gabin made more than a dozen films over the next four years, including Méphisto (Henri Debain, Georges Vinter, 1930), Tout ça ne vaut pas l'amour/While it's not worth the love (Jacques Tourneur, 1931), Coeur de lilas/Lilac (Anatole Litvak, 1932), Les gaietés de l'escadron/Fun in Barracks (Maurice Tourneur, 1932), La Foule hurle (John Daumery, Howard Hawks, 1932) and Du haut en bas/From Top to Bottom (Georg Wilhelm Pabst, 1933). He gained recognition for performing in Maria Chapdelaine (Julien Duvivier, 1934) starring Madeleine Renaud. Cast as a romantic hero opposite Annabella in the war drama La Bandera/Escape from Yesterday (Julien Duvivier, 1936) established Gabin as a major star.
He teamed up with Julien Duvivier again, this time in La belle équipe/They Were Five (1936) and in the highly successful Pépé le Moko (1937) that became one of the top-grossing films of 1937 worldwide. Its popularity brought Gabin international recognition. That same year, he starred in the masterpiece La grande Illusion/The Grand Illusion (Jean Renoir, 1937) an anti-war film that was a huge box office success and given universal critical acclaim, even running at a New York City theatre for an unprecedented six months.
This was followed by another one of Renoir's great successes: La bête humaine/The Human Beast (Jean Renoir, 1938), a Film Noir tragedy based on the novel by Émile Zola and starring Gabin and Simone Simon, as well as Le quai des brumes/Port of Shadows (1938) and Le jour se lève/Daybreak (1939) with Arletty, two of director Marcel Carné's most acclaimed films.
French postcard by A.N., Paris, no. 692. Photo: Film Pathé-Natan. Publicity still for Chacun sa chance/Everyone a Chance (René Pujol, Hans Steinhoff, 1930).
French postcard by Edition Chantal, Paris, no. 49. Photo: Pathé-Consortium.
French postcard, no. 49. Photo: publicity still for La Bandera (Julien Duvivier, 1935).
French postcard by Erpé, no. 567. Photo: Film ACE, Paris. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin. Publicity still for La grande illusion/The Grand Illusion (Jean Renoir, 1937) with Jean Gabin, Dalio, Julien Carette, Gaston Modot and Pierre Fresnay.
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin / Production R.A.C. Marcel Dalio, Gaston Modot and Jean Gabin in La grande illusion/The Grand Illusion (Jean Renoir, 1937).
French postcard by Edit. Chantal, Rueil, no. 49B.
French postcard by Viny, no. 12. Photo: Paris Film.
French postcard by Edition Chantal, Paris, no. 49A. Photo: Paris Film Production.
Jean Gabin was flooded with offers from Hollywood. For a time he turned them all down until the outbreak of World War II. Following the German occupation of France, he joined Jean Renoir and Julien Duvivier in the United States. He had divorced his second wife Suzanne Mauchain in 1939, and during his time in Hollywood, Gabin began a torrid romance with film star Marlene Dietrich.
His Hollywood film career proved less successful: he made two films, Moon Tide (Archie Mayo, 1942) and The Impostor (Julien Duvivier, 1944), both of which were flops. Scheduled to star in an RKO film, at the last minute he demanded Dietrich be given the co-starring role. The studio refused. After Gabin remained steadfast in his demand, he was fired, and the film project was shelved.
Undaunted, he enlisted in 1943 as a tank commander in the Forces françaises libres. He earned the Médaille Militaire and a Croix de Guerre for his wartime valour fighting with the Allies in North Africa. Following D-Day, Gabin was part of the military contingent that entered a liberated Paris. Captured on film by the media is a scene where an anxious Marlene Dietrich waits in the crowd when she spots Gabin onboard a battle tank and rushes to him.
In 1946, Gabin was hired by Marcel Carné to star in the film, Les Portes de la Nuit/Gates of the Night, but his conduct got him fired again. He then found a French producer and director willing to cast him and Marlene Dietrich together in the box office success Martin Roumagnac/The Room Upstairs (Georges Lacombe, 1946), but their personal relationship soon ended.
Gabin returned to the stage after the box office failure of Miroir/Mirror (Raymond Lamy, 1947), but it was also a financial disaster. He was cast in the lead role of Au-Delà Des Grilles/The Walls of Malapaga (René Clément, 1949) which won the Academy Award for Best Foreign Language Film. Despite this recognition, the film did not do well at the French box office, and the next five years brought little more than repeated box office failures.
French postcard by S.E.R.P., Paris, no. 135. Photo: Studio Harcourt.
French postcard by S.E.R.P., Paris, no. 22. Photo: Studio Harcourt.
French postcard by Editions P.I., Paris, no. 1094. Offered by Les Carbones Korès 'Carboplane'. Photo: Marcel Bougureau.
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, Dutch licence holder for Universum-Film Aktiengesellschaft, Berlin-Templehof, no. 1501. Photo: Serge Beauvarlet / Franco London Film, Paris. Publicity still for French Cancan (Jean Renoir, 1954) with Maria Félix.
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, no. 2042. Photo: Pallas Film. Publicity still for Chiens perdus sans collier/The Little Rebels (Jean Delannoy, 1955).
Jean Gabin's career seemed headed for oblivion. In 1953 he was the male winner of the Lemon Prize, awarded by French journalists to the nastiest French actors. However, he made a comeback in the classic policier Touchez pas au grisbi/Don't Touch the Loot (Jacques Becker, 1954) with René Dary. His performance earned him critical acclaim, and the film was a profitable international success.
Later, he worked again with Jean Renoir on French Cancan (1955), with María Félix and Françoise Arnoul. Over the next twenty years, Gabin made close to 50 more films. Most were successful commercially and critically, including many for Gafer Films, his production partnership with fellow actor Fernandel. One of his most popular personalities was inspector Maigret from the detective novels by Georges Simenon in Maigret tend un piège/Maigret Sets a Trap (Jean Delannoy, 1958) and Maigret et l'affaire Saint-Fiacre/Maigret and the St. Fiacre Case (Jean Delannoy, 1959). But he could also play other people: aristocrats, farmers, thieves and managers.
With age, a new Gabin persona emerged, more solid, self-assured, yet always human. His co-stars included French cinema stars as his good friend Lino Ventura in Razzia sur la Chnouf/Razzia (Henri Decoin, 1955), Bourvil in La traversée de Paris/The Trip Across Paris (Claude Autant-Lara, 1956), Brigitte Bardot in En cas de malheur/In Case of Adversity (Claude Autant-Lara, 1958), Jean-Paul Belmondo in Un singe en hiver/A Monkey in Winter (Henri Verneuil, 1962), Simone Signoret in Le Chat/The Cat (Pierre Granier-Deferre, 1971), and Alain Delon in Mélodie en sous-sol/Any Number Can Win (Henri Verneuil, 1963), Le Clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969), and Deux hommes dans la ville/Two Men in Town (José Giovanni, 1973).
In 1960 Gabin was made an Officier de la Légion d'honneur (officer of France's Legion of Honor). Gabin never stopped working and when death surprised him in 1976 he was still an institution for the French audience. His last film was the comedy L'Année sainte/Holy Year (Jean Girault, 1976). Jean Gabin died in 1976 of a heart attack in the Parisian suburb of Neuilly-sur-Seine. His body was cremated and with full military honours, his ashes were dispersed into the sea from the military ship Détroyat.
In 1949, he married Dominique Fournier, a mannequin for couturier Lanvin. They had three children, Valérie Moncorgé, Florence Moncorgé and Mathias Moncorgé. He had bought a sprawling farm in Normandy and was as contented in his life as the country farmer as he was acting in front of a film camera. The Musée Jean Gabin in his native town, Mériel, contains his story and features his war and film memorabilia.
French postcard by Editions et Impressions Combier, Mâcon, no. 3. Illustration: Jean-Pierre Gillot.
Romanian postcard by Casa Filmului Acin. Photo: publicity still for Le jardinier d'Argenteuil/The Gardener of Argenteuil (Jean-Paul Le Chanois, 1966).
French postcard by Editions Hazan, Paris, 1991, no. 6251. Photo: publicity still for Le cave se rebiffe/Money Money Money (Gilles Grangier, 1961) with Bernard Blier.
Czech collectors card by Pressfoto, Praha (Prague), no. S 125/6, 1966. Publicity still for Un singe en hiver/A Monkey in Winter (Henri Verneuil, 1962) with Jean-Paul Belmondo.
French postcard by Finart-Print (DR), no. 304. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Alain Delon, Jean Gabin and Lino Ventura.
Romanian postcard by Cas Filmului Acin, no. 436. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Lino Ventura and Alain Delon.
East-German postcard by VEB Progress Film-Vertrieb, no. 152/72. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).
East-German postcard by VEB Progress Film-Vertrieb, no. 2917, 1967. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).
Trailer La grande illusion/The Grand Illusion (1937). Source: Danios 12345 (YouTube).
Trailer for French Cancan (1955). Source: BFI Trailers (YouTube).
Trailer En cas de malheur (1958). Source: films7story (YouTube).
Trailer Le clan des Siciliens/The Sicilian Clan (1969). Source: Dicfish (YouTube).
Sources: James Travers (French Films), Volker Boehm (IMDb), Wikipedia, and IMDb.
This post was last updated on 27 April 2024.
French postcard by Editions P.I., Paris, no. 23.
French postcard by Editions O.P., Paris, no. 29. Photo: Star. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).
French postcard by A.N., Paris, no. 1160. Photo: Films Osso. Publicity still for Le quai des brumes/Port of Shadows (Marcel Carne, 1938).
French postcard by Edit. Chantal, Rueil (S.-O.), no, 49B. Photo: Raymond Voinquel / Sigma. Publicity still for Le jour se lève/Daybreak (Marcel Carne, 1939).
French postcard by Edition Chantal, Paris, no. 49.
French collector card by Massilia.
From bottom to top
Jean Gabin was born Jean-Alexis Gabin Moncorgé in Paris, in 1904. He grew up in the village of Mériel in the Seine-et-Oise département, about 35 km north of Paris. His parents, Ferdinand Moncorgé and Hélène Petit, were entertainers, who performed in local cafés. Jean worked as a labourer, but from an early age, entertainment was in his blood. At 18, he took a turn at the Folies-Bergère. He then appeared in revues and operettas, singing and dancing, and becoming famous for his imitation of Maurice Chevalier.
Through a chance meeting with the singer Mistinguett in 1928, he was given a spot at the Moulin-Rouge. This led to uncredited parts in two silent sketch films Ohé! Les valises/Hey! Suitcases (1928) and Les Lions/The Lions(1928) with the comic Raymond Dandy. Two years later, he easily made the transition to sound film in the Pathé Frères production Chacun sa Chance/Everyone a Chance (René Pujol, Hans Steinhoff, 1930). In this film, he appeared with Gaby Basset, whom he had married in 1927.
Gabin made more than a dozen films over the next four years, including Méphisto (Henri Debain, Georges Vinter, 1930), Tout ça ne vaut pas l'amour/While it's not worth the love (Jacques Tourneur, 1931), Coeur de lilas/Lilac (Anatole Litvak, 1932), Les gaietés de l'escadron/Fun in Barracks (Maurice Tourneur, 1932), La Foule hurle (John Daumery, Howard Hawks, 1932) and Du haut en bas/From Top to Bottom (Georg Wilhelm Pabst, 1933). He gained recognition for performing in Maria Chapdelaine (Julien Duvivier, 1934) starring Madeleine Renaud. Cast as a romantic hero opposite Annabella in the war drama La Bandera/Escape from Yesterday (Julien Duvivier, 1936) established Gabin as a major star.
He teamed up with Julien Duvivier again, this time in La belle équipe/They Were Five (1936) and in the highly successful Pépé le Moko (1937) that became one of the top-grossing films of 1937 worldwide. Its popularity brought Gabin international recognition. That same year, he starred in the masterpiece La grande Illusion/The Grand Illusion (Jean Renoir, 1937) an anti-war film that was a huge box office success and given universal critical acclaim, even running at a New York City theatre for an unprecedented six months.
This was followed by another one of Renoir's great successes: La bête humaine/The Human Beast (Jean Renoir, 1938), a Film Noir tragedy based on the novel by Émile Zola and starring Gabin and Simone Simon, as well as Le quai des brumes/Port of Shadows (1938) and Le jour se lève/Daybreak (1939) with Arletty, two of director Marcel Carné's most acclaimed films.
French postcard by A.N., Paris, no. 692. Photo: Film Pathé-Natan. Publicity still for Chacun sa chance/Everyone a Chance (René Pujol, Hans Steinhoff, 1930).
French postcard by Edition Chantal, Paris, no. 49. Photo: Pathé-Consortium.
French postcard, no. 49. Photo: publicity still for La Bandera (Julien Duvivier, 1935).
French postcard by Erpé, no. 567. Photo: Film ACE, Paris. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin. Publicity still for La grande illusion/The Grand Illusion (Jean Renoir, 1937) with Jean Gabin, Dalio, Julien Carette, Gaston Modot and Pierre Fresnay.
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin / Production R.A.C. Marcel Dalio, Gaston Modot and Jean Gabin in La grande illusion/The Grand Illusion (Jean Renoir, 1937).
French postcard by Edit. Chantal, Rueil, no. 49B.
French postcard by Viny, no. 12. Photo: Paris Film.
French postcard by Edition Chantal, Paris, no. 49A. Photo: Paris Film Production.
Marlene
Jean Gabin was flooded with offers from Hollywood. For a time he turned them all down until the outbreak of World War II. Following the German occupation of France, he joined Jean Renoir and Julien Duvivier in the United States. He had divorced his second wife Suzanne Mauchain in 1939, and during his time in Hollywood, Gabin began a torrid romance with film star Marlene Dietrich.
His Hollywood film career proved less successful: he made two films, Moon Tide (Archie Mayo, 1942) and The Impostor (Julien Duvivier, 1944), both of which were flops. Scheduled to star in an RKO film, at the last minute he demanded Dietrich be given the co-starring role. The studio refused. After Gabin remained steadfast in his demand, he was fired, and the film project was shelved.
Undaunted, he enlisted in 1943 as a tank commander in the Forces françaises libres. He earned the Médaille Militaire and a Croix de Guerre for his wartime valour fighting with the Allies in North Africa. Following D-Day, Gabin was part of the military contingent that entered a liberated Paris. Captured on film by the media is a scene where an anxious Marlene Dietrich waits in the crowd when she spots Gabin onboard a battle tank and rushes to him.
In 1946, Gabin was hired by Marcel Carné to star in the film, Les Portes de la Nuit/Gates of the Night, but his conduct got him fired again. He then found a French producer and director willing to cast him and Marlene Dietrich together in the box office success Martin Roumagnac/The Room Upstairs (Georges Lacombe, 1946), but their personal relationship soon ended.
Gabin returned to the stage after the box office failure of Miroir/Mirror (Raymond Lamy, 1947), but it was also a financial disaster. He was cast in the lead role of Au-Delà Des Grilles/The Walls of Malapaga (René Clément, 1949) which won the Academy Award for Best Foreign Language Film. Despite this recognition, the film did not do well at the French box office, and the next five years brought little more than repeated box office failures.
French postcard by S.E.R.P., Paris, no. 135. Photo: Studio Harcourt.
French postcard by S.E.R.P., Paris, no. 22. Photo: Studio Harcourt.
French postcard by Editions P.I., Paris, no. 1094. Offered by Les Carbones Korès 'Carboplane'. Photo: Marcel Bougureau.
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, Dutch licence holder for Universum-Film Aktiengesellschaft, Berlin-Templehof, no. 1501. Photo: Serge Beauvarlet / Franco London Film, Paris. Publicity still for French Cancan (Jean Renoir, 1954) with Maria Félix.
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, no. 2042. Photo: Pallas Film. Publicity still for Chiens perdus sans collier/The Little Rebels (Jean Delannoy, 1955).
Lemon Prize
Jean Gabin's career seemed headed for oblivion. In 1953 he was the male winner of the Lemon Prize, awarded by French journalists to the nastiest French actors. However, he made a comeback in the classic policier Touchez pas au grisbi/Don't Touch the Loot (Jacques Becker, 1954) with René Dary. His performance earned him critical acclaim, and the film was a profitable international success.
Later, he worked again with Jean Renoir on French Cancan (1955), with María Félix and Françoise Arnoul. Over the next twenty years, Gabin made close to 50 more films. Most were successful commercially and critically, including many for Gafer Films, his production partnership with fellow actor Fernandel. One of his most popular personalities was inspector Maigret from the detective novels by Georges Simenon in Maigret tend un piège/Maigret Sets a Trap (Jean Delannoy, 1958) and Maigret et l'affaire Saint-Fiacre/Maigret and the St. Fiacre Case (Jean Delannoy, 1959). But he could also play other people: aristocrats, farmers, thieves and managers.
With age, a new Gabin persona emerged, more solid, self-assured, yet always human. His co-stars included French cinema stars as his good friend Lino Ventura in Razzia sur la Chnouf/Razzia (Henri Decoin, 1955), Bourvil in La traversée de Paris/The Trip Across Paris (Claude Autant-Lara, 1956), Brigitte Bardot in En cas de malheur/In Case of Adversity (Claude Autant-Lara, 1958), Jean-Paul Belmondo in Un singe en hiver/A Monkey in Winter (Henri Verneuil, 1962), Simone Signoret in Le Chat/The Cat (Pierre Granier-Deferre, 1971), and Alain Delon in Mélodie en sous-sol/Any Number Can Win (Henri Verneuil, 1963), Le Clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969), and Deux hommes dans la ville/Two Men in Town (José Giovanni, 1973).
In 1960 Gabin was made an Officier de la Légion d'honneur (officer of France's Legion of Honor). Gabin never stopped working and when death surprised him in 1976 he was still an institution for the French audience. His last film was the comedy L'Année sainte/Holy Year (Jean Girault, 1976). Jean Gabin died in 1976 of a heart attack in the Parisian suburb of Neuilly-sur-Seine. His body was cremated and with full military honours, his ashes were dispersed into the sea from the military ship Détroyat.
In 1949, he married Dominique Fournier, a mannequin for couturier Lanvin. They had three children, Valérie Moncorgé, Florence Moncorgé and Mathias Moncorgé. He had bought a sprawling farm in Normandy and was as contented in his life as the country farmer as he was acting in front of a film camera. The Musée Jean Gabin in his native town, Mériel, contains his story and features his war and film memorabilia.
French postcard by Editions et Impressions Combier, Mâcon, no. 3. Illustration: Jean-Pierre Gillot.
Romanian postcard by Casa Filmului Acin. Photo: publicity still for Le jardinier d'Argenteuil/The Gardener of Argenteuil (Jean-Paul Le Chanois, 1966).
French postcard by Editions Hazan, Paris, 1991, no. 6251. Photo: publicity still for Le cave se rebiffe/Money Money Money (Gilles Grangier, 1961) with Bernard Blier.
Czech collectors card by Pressfoto, Praha (Prague), no. S 125/6, 1966. Publicity still for Un singe en hiver/A Monkey in Winter (Henri Verneuil, 1962) with Jean-Paul Belmondo.
French postcard by Finart-Print (DR), no. 304. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Alain Delon, Jean Gabin and Lino Ventura.
Romanian postcard by Cas Filmului Acin, no. 436. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Lino Ventura and Alain Delon.
East-German postcard by VEB Progress Film-Vertrieb, no. 152/72. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).
East-German postcard by VEB Progress Film-Vertrieb, no. 2917, 1967. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).
Trailer La grande illusion/The Grand Illusion (1937). Source: Danios 12345 (YouTube).
Trailer for French Cancan (1955). Source: BFI Trailers (YouTube).
Trailer En cas de malheur (1958). Source: films7story (YouTube).
Trailer Le clan des Siciliens/The Sicilian Clan (1969). Source: Dicfish (YouTube).
Sources: James Travers (French Films), Volker Boehm (IMDb), Wikipedia, and IMDb.
This post was last updated on 27 April 2024.
2 comments:
One of my favorite French actors... Great tribute to him... La Grand Illusion (1937) is a favorite anti-war film of mine and also my introduction to him. After that I saw La bête humaine (1938)which cemented him as a favorite of mine.
But gosh, did he make many films - I'm still working on seeing most of his film work.
Howdy Bob
Happy PFF to you .
What an amazing career he had.
I really don't know how you do it but once again you have provided us with a fantastic post full of wonderful little known facts along with the well known things taken for granted.
Thank you for all the work that goes into your incrdible post .
Have a fantastic rest of the weekend.
Happy Trails
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